“Finally, really
good music!”, the cries of an enthusiastic audience member,
who also spoke for the rest of the public from his heart. The Gershwin
Quartet received everlasting applause following their outstanding
playing and were celebrated with huge enthusiasm.”

Frankfurter
Rundschau

“The strings
sit in their places, no trace of Feidman. A soft tone emerges from
far away in the hall. From the back emerges the man who appeared
in Vilsmeyers “Comedian Harmonists”, in the film “Jenseits
der Stille”. A breath of clarinet sensitizes the ear. The acoustic
in the room is excellent, one could hear a pin drop, the public seems
to have held their breath as Feidman made his way through the rows
towards the stage. There he animates his public to hum a tone, which
serves as the root for himself and the Gershwin Quartet upon which
a charming and melting melody blooms. It's a wonderful temple full
of spiritual and animated energy.”

Stuttgarter Zeitung

“The
engagement of the Gershwin Quartet was combined with outstanding
control. The ensemble which was founded in 1990 in St. Petersburg
is that of the famous Russian tradition, with brilliance of feeling,
combining virtuosity and lyrical expression. Music friends from far
and wide experienced a magical Serenade evening, combining impressive
ambience, a varied program and an extraordinary niveau. Enthusiastic
applause and bravos thanked the musicians for a successful evening.”

Taunus Zeitung

“The
Sonata Arpeggione from Franz Schubert as interpreted from Feidman
is a smorgasbord to the ear. Together with the Gershwin Quartet the
work (in the arrangement for clarinet and strings) is a world premiere~unforgettable,
incomparable. Together they play Gershwin, scenes from Porgy and
Bess, then “Donna, Donna” being murmured under his breath,
and then on to the South American tango. Regardless of what Feidman
plays, an air of Klezmer swings along. The agitated tones, the held
tones~excitement and relaxation. They jazz until landing at pure
Klezmer. Feidman forms letters from the notes, words from the bars.
And so whole stories are told. Feidman, prophet of reconciliation
and understanding, delivers music which everyone can identify with.
His music becomes speech. And as in a good marriage, joy and lament,
side by side, Feidman and his clarinet laughing and crying together.
They are a pair, melted into another.”

Ludwigsburger Zeitung

“In
1996 Giora Feidman recorded the music for the film “Jenseits
der Stille”. In “Schindler's List” and “Comedian
Harmonists”, he even took over a small role. In the nearly fully
packed house, the clarinetist Giora Feidman was at first not to be
seen. After the Gershwin Quartet welcomed the public with Georges
Gershwin's “Lullaby”, dark clarinet tones penetrated from
far away in the hall. The master is here. He stands in the auditorium
and plays his instrument as softly as a flute, almost inaudible yet
poignantly clear. In the middle of the stage, the quartet makes an
explosive impression on the public with the sounds of the “King
of Klezmer”. Feidman wants to reconciliate through his music.
Thus, the argentinian tango, jewish Klezmer, classic and modern are
equal partners. Standing ovation for Feidman and the brilliant Gershwin
Quartet.”